International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2018): 7.426 Reciprocal Relationships of and Central Asian Countries

Islamuddin Firoz

Professor, Fine Arts Faculty of University

Abstract: Afghanistan has always been a major crossroad between east and west, and from the earliest periods of history, its relationships with other cultures have existed in many fields such as politics, commerce, arts, culture and so on. Today, also as a land which has linguistic and cultural relationships with other neighbors, Afghanistan as a crossroad between Asian countries can play a significant role and its cultural and artistic activities can be important in the development of relationships. Afghanistan on its north and northwest sides has good relationships with central Asian countries, in that their language, religion, ethnicity and race are the same.There are even similarities between their musical melodies and musical instruments. PamiriFalak, Uzbek Qushiqs, Goroghli singing, Nawayee singing, Turkmen Idiyams, Moqams, , dances, musical instruments and more show the musical similarities between them. Bakhshis and Shamans work to maintain the Afghan and Turkomans musical antiquity and genuineness as a musical symbol of the commonalities between Afghanistan and the Central Asian countries. Poets like Amir Sher Ali Nawayee and MakhdoomQuli,as well known in Central Asian countries, are popular among Afghan Uzbeks and Turkomans ethnicities also. Music learning and transmission among the tribes is based on traditional system, orally from ancient time untilthe present. The results also show that the music of northern side of Afghanistan and the Central Asian countries have a lot of similaritiesand it represents the common culture between them.

Keywords: Music, Culture, Dance, Muqam, Melody, Musical Instruments, Songs

1. Introduction The Historical relationship of Afghanistan and Central Asia The north and northwest of Afghanistan has a wide range of As a country that has borders with Central Asian countries, traditional music genres. Afghanistan has had long-standing cultural, political, and historical relations from ancient times to the periods of the The citizens of these regions, mostly Tajik, Uzbek, Samanids, , Seljukis, Khwarazms dynasty, Turkmenethnics as well as Kirgiz, Kazak minorities, are Timurids and Baburempire to the present.What further living together but their music color and musical instruments contributed to the strengthening of these relationships is are of various types. poetry and music, which has been closely related in history, and has been the language of empathy and peaceful Each part of these regions has its own and folk coexistence between these countries.Poets and scholars such musical instruments. The music of the northern side of as Roodaki, Farrokhi, Farabi, Abu Ali Sina, Mowlana Jalal Afghanistan is very colorful, alluring and melodious, similar al-Din, Nasser Khosrow, Jami, Maraghei, AlishirNawaee, to Central Asia. Shahrokh, Ulugh Beg, Babur and others, with the works they created had a great influence in the development and They have numerous types of songs for different occasions, consolidation of these relationships. festivals and seasons, for example: dance songs, labor songs, "boyejoyemolianaiadhame بوی جوی مولیان آید همی " festival and celebration songs, mystical songs and songs for The poem different seasons. Their music style is one of the best known by RudakiSamarghandi, a great poet of the Samanid era, in Afghanistan because of its ancient forms, Muqams, and was read in the presence of Amir Nasr Ibn Ahmad Samani, the large number of distinctive musical instruments. In many who remained in for a long time. This poem is areas their music, especially the songs that relate to specific evidence of this deep relationship (Shahrani, 2009, pp.83- events, has been carefully well-kept since ancient times, for 89-93).Similarly, during the Timurid era, a time of major example, mythical stories such as Goroghli, which is interaction between the cultures of Central Asia and popular throughout central Asia.In Afghanistan and central Afghanistan, music flourished.Relations between Central Asia musical instruments such as Dambora, Ghichak, Asia and Afghanistan also developed when Shahrok Qabuz, Dotar, Qushqarcha, Dafand Nay are slightly (Timur's son), transferred his capital from Samarkand to different in their shape and forms. Folk music of northern Herat. Since then, the city has become the center of the Afghanistan is untouched in regard to their melody, sound Timuris art and cultural activity, and music has flourished and performances, similar toCentral Asian folk music. along with other arts.After Shahrokh, his son Ulugh Beg, like his father, was an enthusiastic supporter of arts and This article discusses these points and shows Afghanistan’s science, and he himself was a poet and scientist. During the musicalcharacteristics and its similarity to Central Asian forty years of his rule, Samarkand was one of the greatest countries. centers of science and industry in the 9th century.The multicultural environments in Herat and Samarkand, and the support of Timur and his sonShahrokh and his wifeGoharshad to artists, provided a platform for the growth Volume 8 Issue 9, September 2019 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: 12091902 10.21275/12091902 1235 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2018): 7.426 and prosperity of all arts, especially music. UlughBeg had a with the tact and skills they have learned through history and high knowledge of astronomy and mathematics, also studied became the best creators of music and poetry. The music and compiled five books. AlishirNawaee was a sinabasina system of music in Afghanistan has been and painter, even while he was one of the greatest dependent on the oral customs, the historic circumstances scholars and thinkers and important political figures.He and the national traditions which have been created from the wrote many poems in both Farsi and Turkish languages, for powerful skills of the sinabasina custom (Ghlibwa, 2009, which reason he is famous as "zolesanain", which means p.35). "bilingual: a person who knows two languages."His surname in Turkish poetry is " Nawaee" and in Persian poems is 2. Music of north and northwest tribes of "Fanni" (Feroz,2016, p.397). Afghanistan

In this period the art of music grew well. The had 1. Uzbeki Music: Music of Afghan Uzbeks is well known more skills and many pieces of music were created by for the extent of its musical diversity. Native musical skilled .The treatise written by Maulana Abdul instruments, traditional Muqams and their folk songs which Rahman Jami in music is one of the most important works are based on the nation’s folklores, are the soul of Uzbek of this period in teaching art and music.Abdul Music. Uzbeks are popularly well known for their songs and QadirMaraghei also composed music and music books and music. Qushiqs (life carols), Lapar and Yal la songs are trained many students. admired among Uzbek people. In Uzbeki music, the Carols are sung by local singer or with a chorus. Uzbeki vocal The music of this period can be considered as a product of songs usually started with Muqam(mode). Prevalent common cultures in Central Asia and Khorasani, which was Muqams in Afghan Uzbeki music, known as:Bayat, Oshaq, formed at that time. This indicates that Afghan and Central Shahnaz, Gulyar, Delkharash, Mustahzad, Geria, Dogah, Asian music was in a common cultural corridor during this Gulazaar, Araq, Nawa, Ada, Nasr Oshaq, Mughulcha, chul- period (Kargar, 2005, p.80). e-Araq, OparAraq, Bozurg, Rast and Segah, are additionally well recognized in central Asian music.In Uzbek music the Afghanistan’s traditional music poet Ali SherNawayee and other classical poets are Through history, Afghanistan’s traditional music has popularly used in singing. Courage, love and athletic stories followed two paths. The first one is the Khorasani have a special place in Uzbek Music. Their music is (Moqam)music which continued until the end of the Timoris performed in form of vocal music, instrumental music, period and the second one is the Indian music which group music, ceremonial music, seasonal songs, work songs, was gradually formed during the Babur Empire period in and so on (Madadi, 2011, P.90). Afghanistan. The reason for these two paths is because Afghanistan is located on a special geographical crossroad The prevalent and popular musical instruments in the folk of Asia. Therefore, Afghanistan has acted as a cultural music of Afghan Uzbeks are: dambora, gheechak, bridge through which the different cultures have engaged qushqarcha, zirbaghali, tassak, zang, qabuz, nay, dafand with each other, also enriching the relations between . them.Also regarding the geographic location of Afghanistan, OlivieraPintu explains the role of Afghanistan as a transit These instrumentsare used in solo and chorus music corridor of cultures and says:” that Afghanistan as acorridor performances because of their energetic and fascinating for the transit of the cultures of the numerous societies of sounds. Furthermore, there are some Uzbeks folk songs Central Asia has necessarily been a place for musical which are performed by singers without . juxtaposition too, which has roots from , Iran, Folk music of Uzbek people is specifically divided into two and other far and near societies of the area around it. She parts. The first type is for the particular time and situation, also introduces Afghanistan as a musical country with for example,YaarYaar and Olang songs for marriage several developed regional and stylistic branches” (Oliviera, ceremonies, Yeighi, Aaytam and Shah Hussein for mourning 2016, pp.14-18). Nowadays, the which was ceremonies, Alaahi and Yaazi for harvesting time, Hoshim common in the central Asian countries, are still being used or Hosh-Hoshsongs at the time of milking and Alah in the north and northwest of Afghanistan and have not lost (lullaby) for babies. In Uzbek culture there are individual their original purity. But in some cases especially in folk songs for rain, Ramadan and etc. These songs are sung Muqams which was basically six Muqams in the central a Capella (without instruments) with special sounds and Asian countries, you can see seven, eight or more Moqams rhythms. in Afghanistan. All in all, music in Afghanistan has been orally – sinabasina –transferred from one generation to the The second type of folk music is not related to any particular next. In other words, the art of learning music among the special occasion, ceremony, situation or time.They can be people of this nation has been one of the most important sung any time, for example:Qushiqis, Teermas, Yalas, methods of learning and sharing music to the next Ashulasand various songs similar to them. generations. The traditional music of Afghanistan has been developed and expanded under these principles. The Musicians who sing the songs in the praise of heroes and Gorughlumusicians, either in the central Asian countries or other characters from epic stories are called Bakhshi or in Afghanistan, have been the primary proponents of the oral Shayar (poet). Goroghli, Auwazkhan and Alpamish are the transference system (sinabasina) of music. This group of most ancient and fascinating epic stories of the Uzbek musicians have influence as the speakers/narrators and people. Epic stories are performed only by male performers composers among the people. They teach music and stories with the accompaniment of dambora or qabuz. BadihaGoi Volume 8 Issue 9, September 2019 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: 12091902 10.21275/12091902 1236 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2018): 7.426 and BadihaSarayi are good examples of the music of Uzbek bravery, beauty of nature and animals especially the horse. people. In theBadihaSarayi style two musicians sing the Bakhshi sing these carols in a specific and distinguished same song with instruments in the form of question and style, these songs and carols showing and representing the answer which becomes a beautiful poetic conversation. The opinions, bravery, faith, generosities and psyche of Turkmen content of BadihaSarai singing is based on the praise of people. Turkmen folk music forms are: Chopani singing, artists, the host and the rest of the guests for their presence( Par singing, hodisinging, mawlodi singing, lale singing, Osmani, 2015, p.148). zikr/praise, naqelkhani, singing and nawaye singing (Osmani, 2015, P.62). Songs and dances of women in traditional festivals: On festive occasions women used to dance mostly with the The Turkmen epic and folk stories, including Goroghly, accompaniment of and chang. Traditional group dance is Mikhel Baba andJalaliSarhave historical and ancient roots also renowned and prevalent among Uzbek women. which show social and historic relationships of Turkmen people. (Chadoyak, 2016, P.62). Afghan Turkmen music has Furthermore, in the festival of Samanak (celebrated during remained pure and untouched from ancient time until the spring season in which they cook wheat grass porridge) present, which has its own beauty and appeal. Turkmen women sing and dance in the praise of Samanak.This musicians successfully compose beautiful and complicated tradition is followed by the females of Uzbekistan, songs with very basic and primary musical instruments Tajikistan and Turkmenistan as well. During the cooking of which elicits the admiration of today’s music experts and Samanak, Bibi Aton (a female story teller) reads stories scholars (Ibid, P.63). from the book of Samanak in the company of young girls and women in courtyard along with dancing and singing. 3. Music of Badakhshan: Badakhshan has been divided in During their celebration of Samanak they use daf and chang two parts: one is in Afghanistan and the other is part of as the primary musical instruments. Other forms of dancing Tajikistan. There are various similarities in their culture, arts such as Qashuqbaazi and Pyalabaazi are popular among and music. At present Badakhshan’s primary musical women also. instruments are PamiriRubab, Daf, Nay, Dambora, Ghichak, Qushqarcha, Tal(taasak), Zirbaghali and Chang which is Men are dancing mostly at night parties to the played only by women. accompaniment of dambora, tasak, and sometimes ghichak, traditional music instruments. The primary and most forms in Badakhshan areHokmi or Pandaamiz, Nyaishi, Qassidakhani, The names of these dance forms are related to the Dambora Falakkhani, Bazmi songs,Jashni songs and Mossomi songs. songs such as Joli, galabagh, Qushpanja, Chulmasst, Falak is one of the most charming and popular moqams in Joraquzim, Oulitermasaaz and others which are famous Badakhshan music. BesidesFalak, some other famous songs melodies of Dambora players. in Badakhshan’s music are Rahpai (song for dance), Dargilak (emotional songs) and Seeknak (songs for The Uzbek’s popular songs are theJuraquzeem, worship)(Sakata, 1983, p.90). QushiqMardum, Makeeli, Chapagardan, Galabagh, Kamal aqijaan, Qaissari, Sheberghani, Almaidikhanom, The present music of Badakhshanis also known as Pamiri Oraqcheelar, Nay nay, Lalakhani, Chupanikhani and others music, present since ancient times and with a very close ( Feroz, 2018, p .309). relationship with ancient Muqams. These Muqamsare recognized as ShashMuqam(six moqams) in Tajikistan. The 2. Turkmen Music: The Afghan Turkmen’s music has Pamiri music is prevalent in Ashkashim, Sheghnan, Wakhan, several forms including Panjbahr, Charbait and so on. Yaftal, Jurm, Darwaz, Zibak,Baharak and evenKashem and These musical forms have seven original Muqams such as Takhar. Shirwan, Doshirwan, Haftshirwan, Nawahi, Nalish, Qarriq and Raqsqadim. The Turkmen’s musical instruments are According to Danilo, a French research scholar: Qabuz,Qashqarcha, , Dambura, Daf, Ghichak, “Badakhshanis situated in the high mountains north of Pamir Zirbaghlai, ZangandNai. The Dutar is a common musical and is one of the hardest to access areas of the world.In this instrument among Afghan and central Asian region several types of the oldest and purest central Asian countries. This instrument is an acoustic wooden string music are being natured. Here we find music that does not instrument with two strings made of silk and a body made of have any similarity to the Arabs, Indians and Mongolians. berry wood. There is another type of Dutar, in which the As well, the usage of notes in melodic themes has no stringsare made of metal and also has four frets(Madadi, influence of Indian and Iranian music, but one can see the 2011,p.92). influence of the Italian Renaissance period” (Danielou, 2003, P.6). In the Turkmen music, folk musicians and instrumentalists are known as Bakhshi. These folk musicians and In fact, Badakhshan is where one can find the oldest music instrumentalists perform on different occasions and examples of Afghanistan and Central Asia, because of its celebrations including parties, marriage ceremonies and so location far distant from external music cultural effects, on, this tradition of Bakhshi carrying on since ancient times surviving up to the present untouched. Madah-khani (eulogy to till present.Aidiem(folk literature) isconsidered the most singing) exists in all area of Pamir without any changes in important oral literature of Turkmen tribe, which includes lamentation and mystical celebrations. The people of rhythmic and versified speeches in the praise of love, Badakhshan respect this genre of music. Songs in the form Volume 8 Issue 9, September 2019 www.ijsr.net Licensed Under Creative Commons Attribution CC BY Paper ID: 12091902 10.21275/12091902 1237 International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2018): 7.426 of poems of praise, tribute, and mysticismare executed family vocation, where they have been playing and individually and collectively by panegyrists. Panegyrists, performing for generations.Dambura and are instruments are singers, and instrumentalists are those who have taken the often seen at houses, tea shops and other places. These music in trust from ancestors and from generation to musicians are more and more often uneducated and are old generation, the execution of this music is done only by elegy men, but they compose many songs. Musicians learn the singing panegyrists and not permitted by any other artists. music by rote or imitatively, learning their local folk songs Panegyrists execute their religious songs in poems modeled that their hearers are familiar with. Because of this, their from Sham’s book, Mawlana-e-Balkhi, HazratNaser playing is less technically adept. Each song starts with one Khesraw Qabadyani and other mystics, for accompanying or two lines of poetry, and without rhythm (Ibid, P.19). these texts they use RobabPamiri, Daf and Zirbaghali. One The Qirghiz people reside in one section of Badakhshan, other genre of music is Qasida singing which is used in Afghanistan’s Qirghiz people live a nomadic way of life religious, lamentation occasions. Qasida is performed in ways, supporting themselves with hunting.They have a very three sections: the first is named Tarchini, picking on the primitive civilization, but they have voices of exceptional lower frets; the second section is Rabpai or two beats which quality and sing songs when carrying a bride and groom or is more flowing and soft; the third and final section is named in celebration of special parties or mourning ceremonies( Aouj-eMaqam(Feroz, 2018, p.101). Feroz, 2018, p.337).

Falak singing: Falak is one of the most well-known, 3. Conclusion beloved forms of Afghanistan and Tajikistan. Falak is a Persian word meaning“sky” but in metaphorical terms it It must be said that because of the geographical location of means “fate” or “luck” (Sakata 1983, P.54). Titles like Afghanistan with Central Asia, they have various Zahiri (sad) and Gharibi (being away) explain subject of similarities linguistically, religiously, ethnically and Falak. Falak has several types such as; ZahiriFalak, culturally since ancient times. What is most involved for in QataghaniFakhari, Falakraqs, ChopaniFalak, creating these relationships, is culture and art; specifically, PichapichFalak, BazmFalak,Aram Falak, RawaniFalak, music which has historically been used as a common ParanFalak. AbshariFalak, zenanaFalak, RostaqiFalak, languageand it have still retains its same popular and AilaqiFalak, KordakiFalak, Dashtiand KohiFlak. regional values. On the other hand, the similarity of music between Afghanistan and Central Asia is a common and DafBazm: Dafbazm is executed in an open area by three daf valuable aspect, that remains strong along with other rituals. players and two or three singers.The one who sings the opening is calledRawanigo and the one who sings the song It is finally observed that Afghan and Central Asian music is called Khwanenda. The execution ofDafBazmbegins with are based on melodies, styles, methods and musical the Daf players reading theRawani together. Then as the instruments which also have minor differences as well. A song grows louder, one of the Rawani tellers give hisDaf to few poets such as NasirKhesrow, Mawlana, Nawayee, another and he begins to dancein the square which is called MakhdumQali are very popular amongst Afghan Uzbeks and Para or Paigasht.As the excitement increases, a flute player Turkmen as well as in Central Asian countries. Their poetry starts to play and others clap together, then the performers in the form of MussiqiBazmi (music of celebration), singthe poem in a very slow rhythm that is called Zarb. The MadahiKhani, QaseedaKhani, FalakKhani, GuroughliKhani Zarb (beat) is always starts very slow and in the next section and folk dance have various similarities in Central Asian the song changes to a quick rhythm, usually in 7/8, which is countries and Afghanistan. called Paran.The fourth section is called Shumarwhich starts with a quicker rhythm and participantsengaging in a References type of circle dancing (Ibid, P.147). [1] Chadoyak, Nora. (2016). Cenral Asia oral Special songs in wedding party: During the course of the Epics.Transaltion of ShewaFarehmandrad. wedding, there are eight special songs. They first sing Tehran:publication of shewa. SarTarasha(head shaving song), then Yak Dana [2] Danielou, Alain. (2003). A Music Anthology of the Morwari(one pearl), Shah Mubarakbad(groom Orient. 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